Akademik Veri Yönetim Sistemi
Rast Müzikoloji Dergisi, cilt.10, sa.2, ss.215-227, 2022 (Scopus)
Introduction Music creation, recording and mixing processes have been moved from professional studios to homes with today’s technological possibilities. Music industry professionals, musicians, arrangers, producers and sound engineers have started to produce in small rooms-home studios. Home studios are rooms where it is difficult to reach acoustic parameters and standards when compared to professional studios. Structural changes to room surfaces cannot be made and the installation of professional-grade acoustic materials is often not possible. While there is a lot of work on early reflections from the side surfaces and ceilings in small rooms – particularly studio control rooms – there is little to no work in home studios. The reason for this shortage in home studio work is the measurement inconsistencies caused by the construction differences, non-standard room forms and the acoustic design difficulties associated with them. For this reason, it would be wise to determine the surfaces that users can easily interfere with in home studios and to make acoustic arrangements based on these surfaces. Hard surfaces, which create strong early reflections in home studios, disrupt the sound propagation patterns of the speakers, causing frequency response distortions in the heard signal, deteriorations on the stereo image, and a false and misleading sensation at the listening point with the combination of these negative effects. The most prominent of the hard surfaces on the listening path are the top surfaces of the work tables. This surface is located in the shortest path traveled by sound between listener and speaker and produces early reflections high in level. Studies in the literature on the effects of such surfaces on sensation are insufficient. Research Problem Detecting the negative effects of early reflections in home studios, identifying the surfaces that cause high-level early reflections and controlling early reflections with interventions have a significant effect on the clarity and quality of the heard signal. Based on this proposition, it is necessary to determine the effects of the elimination of work tables located between the speaker and the listener in home studios and the early reflections reflected from the work tables, on the acoustic situation in the room and on the audible signal. Method The experimental phase of this article was carried out using the acoustic simulation method. In order to carry out the simulation, a three-dimensional room is modeled. For the dimensions a room in the Bolt area was modeled with parallel surfaces. The selected room dimensions are 5.20 x 3.80 x 2.75 meters and the room has a volume of 54.34 cubic meters. The acoustic simulation was carried out in ODEON software and acoustic data of the sound reaching the listener point in the presence or absence of a work table between the speaker and the listener were obtained. Discussion and Conclusion According to the result obtained, the distortions caused by the work tables in the senses are evident with the simulation data. The improvement in the lower and mid-frequency regions, especially when the tables are removed from the loudspeaker and listener lines, can be seen in the discussions of the data and graphics. This approach, which the prominent engineers of the music industry have begun to adopt, will probably not be the preferred approach for every sound professional working in a home environment. However, it is claimed that it is a viable and effective step towards improving the sense of the listener in small rooms and increasing the quality expected in audio applications. On the other hand, removing the work table from the listener-speaker area will of course not be enough to provide adequate acoustics in a room. Correct frequency response and good hearing can only be achieved by determining the acoustic problems of the room one by one and applying the necessary design approaches.